Peter Ehwald




John Sharpe, The New York City Jazz Record, 2017 on Schultze Ehwald Rainey

„Schultze and Ehwald both relish exploring the melodic contours of the pieces, which are often reflective, even dreamy, while Rainey’s cymbal color play remains the epitome of sensitivity.“

The Jazzman 2016 –  2015 on Double Trouble

“Double Trouble Live” represents an impressive piece of work from Ehwald and features some strong melodic themes for this unusual trio to get their teeth into. Ehwald is a superb technician, a fluent and often inspired soloist and a consistently interesting composer. He’s a musician who will continue to become an increasingly important figure on the international jazz scene"

John Watson,  Jazz Camera –  2015 on Double Trouble

 The whole group works excellently together as a dynamic, driving unit, and the nine tracks here are impressively cohesive.


Marcus O’Dair – Jazzwise - 2015 on Double Trouble

The stripped-down setting puts a lot of pressure on the sax, which dominates by necessity; the rhthm section, though, play with gymnastic grace and fluidity, clearly enjoying the absence of piano or guitar or even other horns.


John Fordham, The Guardian 2014 on Paragon

"thoughtful inventiveness, park-on-a-dime precision. It’s the work of four accomplished and highly compatible performers,who listen closely to each other."

Selwyn Harris, Jazzwise 2014 on Paragon

"This ensemble Recording by the quartet Paragon really hits the target. Paragon is a refreshing antidode to some of the heavier sounds coming out of the contemporary creative jazz scene."

The Jazz Mann 2014 on Paragon

"This is an open, highly interactive quartet and the members play well both individually and collectively"

The Jazzbreakfast 2014 on Paragon 

"The thing that really gets me smiling – and dancing – is that no matter how tricky the material might be in terms of harmony or meter, the groove is always really strong. A very satisfying listen indeed."

Richard B. Kamins 25.05.2011 All About Jazz

Listening to Ehwald solo over the spare piano chords and shimmering cymbal work, one cannot tell the musicians are separated by thousands of miles. For me, this speaks to t

he power of friendship, of maturity (both personal and musical) and trust.

Stefan Hentz, Die Zeit, 01.06.2011

(On the other Hand) the impertinence of the saxophonist, who uses every means, from the shrill scream to strumming on toy instruments.

Ralf Döring, Neue Osnabrücker Zeitung, 19.02. 2011

Through Peter Ehwald the CD becomes a sensation: On the tenor saxophone he is reminiscent of of Ben Websters smokey tone or the lyricism of Lester Young, with his Soprano Saxophone he is closer to Sidney Bechet than to John Coltrane. Nevertheless, Paragon plays music from. With borrowings from rock music they powerfully blow away the "Quarterlife Crisis". A music that becomes pleasantly concrete and sturdy.

Hans-Günter Fischer, Mannheimer Morgen, April 2010

But if you are looking for solstic brilliance, you get stuck with Peter Ehwald

Paul Medley, Oxford Times 2008

"Ehwalds tenorplaying has the raw dissonant energy and wideranging phrasing of Brecker moving towards Ayler"

Selwyn Harris, Jazzwise UK June 2010

„Ehwald evokes an affecting tonal range, moving artfully between Wayne Shorter-type floaty, snaking lines and tougher vocalised timbres."

Hannes Hansen, Kieler Nachrichten, Februar 2009

And then it got really free, Peter Ehwald let all his instruments squeak and scream. There was a pandemonium on the stage, a somehow tamed chaos, a ice-cold fieriness.

Gabriel Alegria, Artistic Director of Jazz Peru International, Lima, Juni 2008

„Peter Ehwald is clearly a catalyst for this band, bringing together its members around an athletic yet decidedly expressive sound. „Dunkel" is just one example of Ehwaldʼs warmth as a composer and an instrumentalist. His importance to this ensemble's surprising cohesion is evident."

Sebastian Scotney, LondonJazz, 2009

"Ehwald has a prodigious saxophone technique and a fine ear, particularly in his frequent excursions into altissimo. His most natural voice seemed to me to emerge in the more thoughtful and expressive moments. "